Writing for Congregations: 7 Tips

1. The two fundamental pillars…

The two fundamental pillars in scripture for the songs we sing are – rich in scriptural meaning and easily singable. These are the two primary goals of the words and music in the genre that is congregational song or hymn writing.

2. It starts with the congregation…

Many of the greatest songs ever written are not singable by congregations and thus are not good for congregational worship. Those of us who are musicians always tend towards songs that are most musically interesting or sound best on a recording or even at a major event with a professional band, and this really doesn’t feed the congregations we lead. Let’s use the congregation as our guide rather than musicians, as they ultimately determine what is good – and if they are unengaged and are just spectators, we have missed the point. Truly radical worship is where people of every generation, cultural background, social status, and stage in life can sing melodies together as a family to their creator and redeemer. It is not where there is some spectacular performance – we can get that in concerts, television, and DVD’s – and by comparison, it’s really not that radical.

3. Rich in scripture…

Every Sunday, we face a congregation of people whose lives may look perfect but who desperately need words of truth to penetrate every part of their lives – intellectually, emotionally, spiritually. Let’s make sure as writers or as leaders that every song is feeding our people. The Apostle Paul addresses public worship in Colossians 3:16 to “let the word of Christ dwell in us richly, as we sing Psalms, hymns and spiritual songs.”

4. A man’s best friend is…his pastor…

Pastors and musicians don’t exactly have a reputation of being friends. I think one of the reasons there are so many good songs written in the UK is because of the great relationships between visionary pastors and their musical directors – always work with your pastor – both in what songs to write, in listening to his sermons, in writing songs for the occasion. Also, use their theological input in the writing process and have them check the songs for both emphasis and accuracy. This can really help form deep, powerful relationships.

5. Learn from the past…

As a modern hymn writer, I’ve always found that in folk music, old hymns, classic ballads, and classical music, there is a limitless resource – when we look at the great melodists of old, we are privileged to stand on tall shoulders and learn from them. In the contemporary genre, I think we have to listen to what arena audiences sing the loudest – although it does tend to limit them to short term usage, as what was popular ten years ago almost never is today.

6. Hard work…

I’ve never had a very high success rate as a melody writer – in comparison to the number of melodies I’ve written – the importance of working at it as any other craft cannot be overstated – also, often a melody eventually makes it after many drafts.

7. It finishes with the congregation…

Each week as we review ‘songs,’ whether that is songs we write or songs we select or lead for congregational worship, the final analysis cannot be based on musical arrangement or vocal performance or even the many aspects surrounding the congregational singing. It boils down to – were these words feeding our congregation and was the congregation engaged in passionate singing?

Keith and Kristyn Getty have been at the forefront of the modern hymn movement over the past decade, demonstrating the ability to successfully bridge the gap between the traditional and contemporary. They recently released their second album together, Awaken the Dawn, a collection of hymns that takes you on a lyrical journey of grace and hope for all the nations. Learn more about their ministry at www.gettymusic.com